Chapter 1: (01:23) Musical Introduction
Welcome back to the Phase 2 Fingerstyle Guitar Series with Jim Deeming. Jim kicks off lesson 10 with a performance of the piece "Spanish Fandango." This piece is typically played in open G tuning. In the scenes that follow, Jim will break down the key aspects of this tuning and apply them to a slightly more basic arrangement of "Spanish Fandango."

Chapter 2: (04:00) Lesson Introduction: Open G TuningTuning to Open G

When learning a new tuning, it is absolutely necessary that you start with the most basic concepts regardless of your ability level. You must first learn how to tune the guitar to this tuning. If you have a floating tremolo system installed on your guitar, you will encounter several difficulties. When one string is tuned down, the strings on the opposite side of the bridge will go sharp to maintain an equal balance of tension. Consequently, you must tune each string multiple times to ensure that all of the strings are tuned to the correct pitch.

In open G, the strings are tuned to the following pitches. These notes comprise a G major triad.

6th: D
5th: G
4th: D
3rd: G
2nd: B
1st: D

Many alternate tunings involve tightening a string to a higher pitch. In open G however, every string that is altered is tuned down.

1. Tune your guitar to standard tuning.

2. Lower the pitch of the sixth string to match the pitch of the open 4th string. This string produces the note D. You may find it helpful to match the open D string to the harmonic played at the 12th fret of the 6th string. This puts both D notes in the same octave.

3. Match the pitch of the 1st string to the pitch of the open 4th string. Use the harmonic played at the 12th fret of the fourth string to keep the notes in the same octave. You can also use the pitch of the note D at the third fret of the 2nd string as a reference point when tuning the first string down.

4. Next, match the pitch of the 5th string to the pitch of the open 3rd string. Once again, you may want to match the harmonic at the 12th fret of the 5th string to the open G string so that both are played in the same octave.

5. Leave the 4th, 3rd, and 2nd strings in the tuning that they are in (D, G, B). These notes are part of the G major triad.

6. Strum an open G major chord across all six strings to ensure that your guitar is in tune. If your guitar sounds out of tune, check back through each individual string to see if you made any errors.

Note: Since several of the strings are tuned down, you may find that chords are harder to keep in tune as you ascend higher on the fretboard.

When matching the pitch of one string to another follow this process:

1. Pluck the string that is already in tune.

2. Pluck the string you want to tune. ONLY pluck it once.

3. Use large turns of the tuning key to adjust the pitch. Tuning in smaller increments makes tuning much more difficult.

4.Use an electronic tuner to check your accuracy.

5. Stretch the strings out and tune again. By tuning three strings down a full step each, the tension on the neck is significantly reduced. The guitar needs some time to adjust to this new tuning. Strings have memory and will want to return to the pitch that they were previously tuned to. Stretch them out and re-tune them to give them a new memory.

6. Always tune up to pitch. Never tune down to it. Refer to Jim's 20th Phase 1 lesson for more information on this topic.

When the guitar is tuned to open G, the open strings form a G major chord. This feature provides several advantages. This tuning allows you to play many chord voicings that are not possible or practical in standard tuning. Also, familiar chords produce a different tone when played in another tuning. Open tunings can also help you bust out of a rut. Playing in an alternate tuning will essentially force you to re-learn how to play the instrument. This will hopefully generate some new inspiration and a new outlook on the instrument.

In addition, open tunings are much more conducive to playing slide guitar. All of the notes that comprise a major chord align themselves along a single fret in an open tuning. Check out Hawkeye Herman's Phase 2 Blues series for more information about playing slide guitar in open tunings.

Open G Chord

By strumming all of the open strings together, an "open" G major triad is produced. It should be noted that this chord is played in second inversion. An inversion occurs when a chord tone other than the root is played as the lowest bass note. In this case, the fifth of the chord, D, is played as the lowest note. When the third of the chord is played in the bass, the chord is in first inversion. When the fifth is the lowest note, the chord is in second inversion.

Scales

When learning a new tuning, you must also learn how familiar scale patterns must be fingered. Jim explains how to play a movable major scale pattern in this scene. He applies the pattern to the key of G major.

Note: Tablature and notation to this scale pattern in G major can be found under the "Supplemental Content" tab. Remember to shift open string notes to the proper fretboard location when transposing the pattern to a new key.

Chapter 4: (02:12) Playing the I, IV, V Chords
The next logical step is to determine where the I, IV, and V chords can be played in this tuning. This will enable you to play some basic chord progressions and songs. You already know how to play the I chord, G major.

Movable Barre Chord Shape

The open G major chord can easily be converted into a movable major barre chord shape. The IV chord, C can be played as a barre across the 5th fret. Then, the V chord D can be played as a barre chord up two frets from C at the 7th fret. Simply barre the first finger across all six strings to create this barre chord shape. You may want to use the second finger as a clamp to help the first finger hold all six strings down under the barre.

In order to transpose this chord anywhere on the fretboard, you must know where the half steps and whole steps occur within the musical alphabet. The root note fretted by the first finger determines the name of each barre chord. This root note is located on the fifth string.

Alternating Bass / Accompaniment Patterns

When performing an alternating bass line with an "open" G voicing, switch between the root note on the fifth string and the fifth of the chord, D, on the open sixth string. At 01:55, Jim demonstrates how this alternating bass pattern can be applied to the familiar "boom-tick" accompaniment pattern. This same pattern can be applied to the C and D barre chords.

Chapter 5: (03:26) Spanish FandangoA. Fandango Definition

A fandango is a Spanish dance song played in a moderately fast triple meter. Typically, the fandango is danced by a couple with castanets and accompanied on guitar. This dance form first appeared in the early 18th century.

B. Accompaniment Pattern

Like most fandangos, this piece is played in 3/4 time. Remember how accompaniment patterns must be adjusted when playing in this meter. The bass note changes on the downbeat of each measure within the alternating bass line. The chords are plucked on beats 2 and 3 of each measure.

You can also play an arpeggio as an accompaniment pattern. Jim demonstrates this accompaniment at 02:35. Play the root note on beat one of the first measure. Play the next highest string on beat 2. Then, play the next highest string on beat three. In the following measure, the bass note changes on beat 1. Beats 2 and 3 remain the same.

C. Melody

The melody begins with a descending segment that features notes from the G major scale. These notes are played on the first string. It is relatively easy to remember the melody, since all notes are all played at frets with dot inlays. If you are playing a classical guitar, follow the dots on the top of the fretboard.

Chapter 6: (04:13) Next Part of the Song and a New ChordOpen D7 chord

Within this voicing, the sixth and fourth strings are played open. The open fifth string is omitted. This voicing is really only practical for fingerstyle playing due to this feature. Since the first string is tuned down a full step, the F# note must be played two frets higher. Play this note with the pinkie finger at the 4th fret of the first string.

Note: The first string can be played open. However, this produces an ambiguous sound since the third of the chord is missing. Consequently, this voicing could be used for a D7 chord or a Dm7 chord.

When playing this chord, the accompaniment pattern must change. Simply use a D bass note for the downbeat of measures 5 and 6. Since the fifth string is not part of this chord, it cannot be used in the bass pattern. On beat 2 of the accompaniment figure, play the open fourth string. The A note on the third string is played on beat three. Or, as Jim demonstrates at 02:50, the accompaniment figure can be shifted up one octave. When this occurs, the lowest bass note in the pattern is played on the open fourth string.

Practice Time

The melody is played out of this chord shape in measures 5, 6, and 8. A tonic G chord is used in measure 7. Play up to measure 8 along with Jim at 01:47 in the lesson video.

Measures 9-13

Measures 9-13 are the same as 1-5.

Measures 14-16

These measures provide a simple conclusion to the piece. Over the course of these measures, the melody ascends to a tonic G note played on the first string.

Chapter 7: (01:08) Which Fingers to UseLeft Hand

There are no hard and fast fingerings to follow when playing this piece. However, you will want to use a fingering that requires a minimal amount of left hand movement. For example, Jim starts the melody line with the pinkie finger. He frets the B note at the 9th fret with the first finger. Notice how he frets the G note in measure 3 with the pinkie as well. This sets up his left hand for the D7 chord that occurs in measure 5. Remember that economy of movement is key to proper left hand technique.

Chapter 8: (07:13) The Second or B PartNote: Open "Spanish Fandango (Variations)" listed under the "Supplemental Content" tab.

Using Barre Chords

The B section begins in measure 17. During measures 17 and 18 as well as 27-28, the melody is played out of the C barre chord shape that Jim explained earlier in the lesson. Leave the barre planted as you play these measures.

Similarly, the melody is played out of a seventh position D chord voicing in measures 21 and 22. Later, a B major barre chord voicing is utilized in measures 25 and 26.

Accompaniment Pattern

Notice how Jim does not use an alternating bass line during this section. When a chord is played for two measures, he simply plays the root note on each downbeat. This provides some contrast with the A section. However, you can alternate between the root and fifth of each chord if you prefer. Compare both versions to determine which you like best.

Adding Variety

Jim has already explained how an alternating bass line can be applied to the progression to add extra interest. Several additional variations can be added to the accompaniment pattern to create a stronger overall arrangement.

The G and B strings can be plucked together on beats 2 and 3 to give the accompaniment pattern a fuller sound. Use the first and second fingers of the right hand to pluck these notes. Watch at 05:35 as Jim demonstrates this accompaniment variation. Within this variation, the thumb plucks the root note on beat 1. On beats 2 and 3, the thumb plucks the note on the fourth string.

Also, some light syncopation can be added to increase the interest level of the accompaniment. The note located on the second string of each chord can be plucked on the "and" beat of 2. Jim demonstrates this variation at 02:43 in the lesson video. Unfortunately, this variation will not work when melody notes must be played on the second string.

Note: The alternating bass line can be combined with the syncopated pattern.

Make a note of where Jim chooses to add these subtle variations in the score of "Spanish Fandango." Also, experiment with your own set of variations.

Chapter 9: (07:44) Left Hand Variations A Section Embellishments

The melody to "Spanish Fandango" is extremely simple. This leaves ample room for the performer to interpret and embellish the melody. For example, in measures 3-4, a stepwise scalar pattern can be used to embellish the melody. Jim demonstrates this at 00:30. He also demonstrates a sample way of embellishing the melody in measures 6-8.

B Section Embellishments

The melody in this section can be harmonized to create a fuller sound. The melody notes are harmonized in diatonic thirds. Refer to the notation to see the fretboard locations of the harmony notes. Jim typically harmonizes melody notes when the melody is played out of a barre chord voicing. Since the first finger is the only finger used to fret the chord, the other fingers are free to embellish the melody.

Jim also embellishes the melody in the B section by using some upper neighbor tones. Watch at 03:52 as he demonstrates this idea. The embellishing neighbor tones can be harmonized in diatonic thirds as well. This is demonstrated at 04:46. Notice how Jim doesn't always pick the embellishing notes. These notes are often sounded with hammer-ons.

Bass Walks

To break up the monotony of the alternating bass pattern, some scalar bass walks can be added at various points in the piece. Try the bass walk notated in measure 16 when moving from a G chord to a C chord. Another bass walk is written in measure 24. This walk up creates an effective bass transition from a G chord to a B chord.

Note: Jim provides a performance of the piece with the inclusion of these embellishments at 06:06 in the lesson video.

Chapter 10: (01:03) Playing the Fancy Version
Jim provides a performance example of the full arrangement in this scene. Feel free to play the basic arrangement or the full version along with him.

Chapter 11: (03:16) Practicing and Final ThoughtsPractice Tips

-Isolate the bass line and melody at first.

-Begin with the most basic version of the accompaniment pattern. First, work on the most basic right hand arpeggio accompaniment in 3/4. Then, add an alternating bass line. Next, add in the syncopated patterns and bass walks.

-Essentially, add one new element at a time as you are learning the piece. Even if you are an advanced player, do not play the full arrangement at once. Working through each individual step will force you to learn the thought process that Jim went through as he developed this arrangement. These arrangement ideas can be applied to your own fingerstyle arrangements of classic melodies.

Additional Chords in Open G Tuning

Jim demonstrates how to play a movable minor chord voicing in this tuning. The proper fingering for Am is listed below. This movable shape can be transposed anywhere on the fretboard. The root note is fretted by the second finger on the fifth string.

Jim, The fancy version which you have demonstrated in the video is beautiful and I really want to learn it. Unfortunately, the tab sheets provided in the supplemental does not match the video. Can you please post the correct version for us to use? Thanks!!

Jim, you have a great teaching style. Well explained and demonstrated and I never feel that you are talking down to a fumble-fingers like myself. Fingerstyle is a wonderfully meditative way to find the music inside us all.

You could also use a spider capo and fret the 2nd, 3rd, and 4th string at the first fret. This achieves an open A tuning, but all the chord shapes for open G would be the same. I love my spider capo...

I apologize again... lol Apparently I didn't know what I was talking about. It achieves open A tuning, but you can't play it the same way as Jim does. I guess I should try stuff out before I leave a comment next time.

I enjoyed this lesson. I'm having fun with the open G tuning. I found an old Robert Johnson tune (Love in Vain) that's played with the same tuning. The only part bumming me out is when you said even a baby can play this tune .... Whaaaaaa Whaaaa

In this lesson Jim Deeming talks about a simple way to add harmony notes to the melody section of fingerstyle songs. This technique is quite simple and can add a whole new dimension to your playing.

Length: 5:51Difficulty: 2.5Members Only

About Jim DeemingView Full Biography
Jim Deeming got his first guitar when he was only six years old. His Dad was taking fingerpicking lessons, and Jim wanted to be just like him. The Mel Bay books didn't last very long before he strapped on a thumb pick and added the Chet part to Red River Valley so it sounded better.

Most of Jim's early learning was by ear. With unlimited access to his Dad's collection of Chet Atkins albums, he spent countless hours decoding his favorite songs. They were never "right" until they sounded just like Chet. Around the age of 12, Jim heard Jerry Reed for the first time and just knew he had to be able to make that "Alabama Wild Man" sound. The styles of Chet & Jerry always have been a big influence on his playing.

More recently he has pursued arrangements by Tommy Emmanuel and Doyle Dykes, in addition to creating some of his own and writing originals.

Jim has performed in front of a variety of audiences, including concerts, competitions, weddings and the like, but playing at church has always been a mainstay. Whether playing in worship bands or guitar solos, gospel music is deep in his roots and is also the driving theme behind his debut CD release, titled "First Fruits".

Jim has been playing for about 38 years. He also has taught private lessons in the past but believes JamPlay.com is an exciting and better venue with many advantages over the traditional method of weekly 30 minute sessions.

Jim lives in Berthoud, Colorado with his wife, Linda, and their four children. Although he still has a "day job", he is actively performing and is already back in the studio working on the next CD. If you wonder how he finds time, look no further than the back seat of his truck where he keeps a "travel guitar" to take advantage of any practice or song-writing opportunities he can get.

The opening song you hear in Jim's introductory JamPlay video is called, "A Pick In My Pocket". It's an original tune, written in memory of Jim's father who told him early on he should always keep a pick in his pocket in case he ever met Chet Atkins and got the chance to play for him. That song is slated to be the title track for his next CD, which will feature several more originals plus some of his favorite covers of Chet and Jerry arrangements.

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